A Shoreline Dream’s Sonics Outrun Terminology, Shoegaze

Like the similarly revivalist Asobi Seksu and Film School, A Shoreline Dream sounds like a band out of time, drowning in reverb-drenched guitars and vocals, head-tripping into walls of sound and wonderment once derisively branded as "shoegaze."

But like so-called shoegaze trailblazers My Bloody Valentine and Swervedriver, A Shoreline Dream’s members are not keen on the branding. Nor are they willing to hand the band over to a label they don’t own.

So for the group’s spaced-out sophomore effort, Recollections of Memory, released Tuesday, chief dreamer Ryan Policky put his Colorado house and its live-in music studio on the line as collateral and joined guitarist Erik Jeffries, bassist Enoc Torraca and new drummer Sean Merrell in forming the band’s own label, Latenight Weeknight Records. Serendipitous praise from another shoegaze-branded soundscaper, Germany electronic musician Ulrich Schnauss, led to a collaboration, and A Shoreline Dream reached the beach.

What sets the band apart from its obvious influences, worn on the players’ sonic sleeves like a badge of honor? Wired.com caught up with Policky and Jeffries by e-mail to work it all out.

Wired.com Brilliant album. Your bio says your fans characterize you as "melodipsych rockers," but how would you characterize yourself?

Ryan Policky: Over the years, I’ve been on an evolving musical path, starting with technical death and doom metal back in my teens, then industrial and electronic goth music, to an almost experimental atmospheric sound right before diving into A Shoreline Dream. So I’d say the band is a big cauldron of all that mixed together with Erik, Enoc and Sean’s intertwined talents influences. We all have such varied backgrounds, and I think that’s what made this album and our overall sound what it is today.

Wired.com: What was the plan going into this effort, and do you like how it turned out?

Erik Jeffries: The one goal that I wanted to accomplish was to create something that was sonically like standing on a platform waiting and watching trains pass by. The rush of sound, then that moment of reflection as you become accustomed to the sound, before you peer into each of the cars looking for a subplot. As soon as it arrives, it leaves, yet you can still track the sounds even if visually you cannot see the train. As far as how it turned out? I have to say I could not be more pleased!

Wired.com: What he said!

Policky: We really didn’t have an overall plan like on Avoiding the Consequences. We took it day by day, evolving what we wanted to get out of the music and the message. Before we knew it, we had an album. Time goes by pretty quickly, and so did that year and a half. We’re all really happy with the final outcome.

Wired.com: How did you hook up with Ulrich Schnauss? Are you kindred spirits of a sort?

Policky: Ulrich is such a huge influence for me personally. It was really quite a shock to learn of his interest in us, and to see it all come together as a collaboration. While on tour with Innaway back in 2007, we learned that he had sent out an e-mail to his fans praising our disc. Being a huge fan of A Strangely Isolated Place, which at the time was in my regular rotation, I simply couldn’t believe it.

Upon return to Denver, I e-mailed him immediately to find out if this was true, or just some sort of fantasy land. He e-mailed back immediately, letting us know he was a fan. Figuring we had nothing to lose, I asked if he’d be interested in collaborating on a song, and another piece of the puzzle fell into place. Shortly thereafter, we released "neverChanger," a song co-written and co-produced with Ulrich. I’ll never forget how amazing it was to get those tracks back from him. And that was just the start: We toured together here in the States and he once again graciously joined us on three more songs for Recollections of Memory.

Jeffries: I loved the collaboration, especially during the tour while we worked on "neverChanger" and then performed it. How often do you get to work with a peer, much less a master?

Policky: It’s all a blur, but a very vivid one I’ll never forget. We connected on many levels, and I can’t wait to see what happens next.

Wired.com: How does A Shoreline Dream differ in nature from the short-lived bands you had before it, Drop the Fear and Pure Drama?

Policky: It really is such a different project. We’ve learned a lot over the years, and we’re still learning. But when we get together to play something, everything just gels. It’s difficult to explain, but it feels great to know that we can make this sound together. I guess that’s part of the reason why we jumped into it full-steam and never looked back.

Jeffries: It’s funny, because this is much different than when I was with Pure Drama. This process is much more organic and less programmed. The band members listen to everything from Smashing Pumpkins to Sade, but what brings us together is the drive to create through sonic emotions. We are limited in our use of words but, sonically speaking, we’re not limited to verbs and adjectives.

Wired.com: Fair enough. Now for the hard part. How does A Shoreline Dream differ from the bands it sounds like? Is your music an homage?

Policky: Of course we bring our influences to the table. But to be completely honest, the shoegaze comparison came as a surprise. I guess it’s like most music: We subconsciously are adding elements from songs that changed our lives, and people have filed that connection under shoegaze. But we’re just happy they find connection and continue to show us support.

Here’s The Thing With Ad Blockers

We get it: Ads aren’t what you’re here for. But ads help us keep the lights on. So, add us to your ad blocker’s whitelist or pay $1 per week for an ad-free version of WIRED. Either way, you are supporting our journalism. We’d really appreciate it.